DOCSLIB.ORG

The Blurred Protection for the Feel Or Groove of a Song Under Copyright Law: Examining the Implications of Williams V

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Blurred Protection for the Feel Or Groove of a Song Under Copyright Law: Examining the Implications of Williams V Touro Law Review Volume 35 Number 2 Article 6 2019 The Blurred Protection for the Feel or Groove of a Song Under Copyright Law: Examining the Implications of Williams v. Gaye on Creativity in Music Olivia Lattanza Touro Law Center Follow this and additional works at: https://digitalcommons.tourolaw.edu/lawreview Part of the Intellectual Property Law Commons Recommended Citation Lattanza, Olivia (2019) "The Blurred Protection for the Feel or Groove of a Song Under Copyright Law: Examining the Implications of Williams v. Gaye on Creativity in Music," Touro Law Review: Vol. 35 : No. 2 , Article 6. Available at: https://digitalcommons.tourolaw.edu/lawreview/vol35/iss2/6 This Article is brought to you for free and open access by Digital Commons @ Touro Law Center. It has been accepted for inclusion in Touro Law Review by an authorized editor of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Lattanza: The Blurred Protection THE BLURRED PROTECTION FOR THE FEEL OR GROOVE OF A SONG UNDER COPYRIGHT LAW: EXAMINING THE IMPLICATIONS OF WILLIAMS V. GAYE ON CREATIVITY IN MUSIC Olivia Lattanza* I. INTRODUCTION The notion that “[a]ll music shares inspiration from prior musical works”1 creates a tension in music copyright infringement cases because the distinction between inspiration and copying of another musician’s work is often blurred. In Williams v. Gaye,2 the Ninth Circuit largely affirmed the judgment of the district court entered after the jury verdict finding that Pharrell Williams’ and Robin Thicke’s (“Thicke Parties”)3 hit “Blurred Lines” infringed Marvin Gaye’s song “Got to Give It Up.”4 Although the Ninth Circuit’s decision turned on procedural grounds, namely the court’s deferential * Touro College Jacob D. Fuchsberg Law Center, J.D. Candidate 2020; Boston College, B.A. in Psychology, minor in Music, 2017. I would like to give a special thanks to my Mom, Dad, and sister, Brittany, for their unconditional love and support in everything that I do. I appreciate their devotion in always being there for me not only as my family, but as my best friends. I would also like to thank my Nana and Uncle Don for their love and enthusiasm, and my Papa, who I know is excitedly watching down on me. Next, thank you to Editor-in-Chief, Michael Morales, and Notes Editor, Thomas Narducci, for their continued guidance and encouragement throughout the writing and editing process. Lastly, many thanks to my faculty advisor, Professor Rena Seplowitz, for introducing this Note topic to me, as it connects my passion for music and the law. Professor Seplowitz’s assistance in providing extensive feedback, along with her unwavering dedication as both a faculty advisor and a professor, is truly invaluable. 1 Brief of Amici Curiae 212 Songwriters, Composers, Musicians, and Producers in Support of Appellants at 2, Williams v. Gaye, 885 F.3d 1150 (9th Cir. 2018) (CA No. 15-56880). 2 885 F.3d 1150 (9th Cir. 2018). 3 The Ninth Circuit uses “Thicke Parties” to represent Pharrell Williams, Robin Thicke, Clifford Harris, Jr., and More Water from Nazareth Publishing, Inc. Id. at 1159. For this Note, “Thicke Parties” will specifically focus on Williams and Thicke. 4 Williams, 885 F.3d at 1183. 723 Published by Digital Commons @ Touro Law Center, 2019 1 Touro Law Review, Vol. 35 [2019], No. 2, Art. 6 724 TOURO LAW REVIEW Vol. 35 review of the jury’s decision,5 this case does not exemplify a straightforward application of copyright law for several reasons. While the 2013 hit “Blurred Lines” is subject to the protections under the Copyright Act of 1976, Gaye’s song, which was composed prior to January 1, 1978, is protected under the Copyright Act of 1909.6 Specifically, Marvin Gaye (“Gaye”) recorded “Got to Give It Up” in 1976, but he did not notate the deposit copy,7 as he neither wrote nor “fluently read sheet music.”8 Instead, Jobete Music Company, Inc. registered “Got to Give It Up” in 1977 with the Copyright Office by depositing sheet music of a transcribed version of Gaye’s recorded song.9 After Gaye’s death, Frankie Christian Gaye, Nona Marvisa Gaye, and Marvin Gaye III (“Gaye Parties”) inherited the copyright in Gaye’s song.10 Notably, the difference in copyright protection under each act is central in determining which aspects of the song are protected.11 While the actual sound recording of “Blurred Lines” is protected under the 1976 Act, the only protection of “Got to Give It Up” under the 1909 Act is in the musical composition.12 As a result, the district court excluded the sound recordings of both songs because sound recordings are not protected under the 1909 Act.13 This meant that the jury did not compare the recorded versions of both songs, but only compared the “musical compositions” of 5 Id. at 1182. 6 Id. at 1165; see Dolman v. Agee, 157 F.3d 708, 712 n.1 (9th Cir. 1998) (“The 1909 Act is the applicable law in cases in which creation and publication of a work occurred before January 1, 1978, the effective date of the 1976 Act.”). 7 A deposit copy is a copy of the copyright holder’s work that is sent to the Copyright Office as part of the application for registration. For a musical work, the notation of a deposit copy is the process of writing the musical elements and lyrics of a song on the sheet music. The deposit copy, or the sheet music of the song, is then sent to the Copyright Office as part of the application for copyright registration. Here, Gaye did not notate the deposit copy himself. This means that he did not personally write or transcribe the notes, lyrics, and other musical elements of “Got to Give It Up” on the sheet music that was sent to the Copyright Office for registration. 8 Williams, 885 F.3d at 1160. 9 Id. 10 Id. Gaye’s children inherited their father’s copyright in “Got to Give It Up” because copyrights, like other personal property, can be inherited when the copyright owner dies. 11 Beth Hutchens, How Sweet it is to be Sued by You (for Copyright Infringement), IPWATCHDOG (Feb. 19, 2015), http://www.ipwatchdog.com/2015/02/19/how- sweet-it-is-to-be-sued-by-you-for-copyright-infringement/id=54955. 12 Id. 13 Williams, 885 F.3d at 1165. For an explanation of the protection of sound recordings under the 1976 Act, see Part II.A. https://digitalcommons.tourolaw.edu/lawreview/vol35/iss2/6 2 Lattanza: The Blurred Protection 2019 THE BLURRED PROTECTION 725 elements extracted by the experts.14 The lack of similarities between the notated musical elements on the written compositions suggests that the songs are not substantially similar under the 1909 Act.15 In identifying the musical features present in both songs, the Gayes’ expert relied on elements that are not individually protectable.16 However, if the two songs were evaluated under the 1976 Act, there may be a stronger argument that the songs are substantially similar.17 Specifically, the sound recordings represent similar stylistic and sonic choices, including “the male falsetto and the use of a cowbell.”18 However, as this case is governed under the 1909 Act, the similarities between the sound recordings are irrelevant.19 Most importantly, the similarities between the songs are not within the melody, lyrics, or harmony, but rather in the overall sound, groove, and vibe.20 As the similarity in groove is not readily identifiable by looking at the musical compositions, the jury most likely found similarities based on the “mash-up” recording of the songs, which was inappropriately admitted because it contained unprotectable elements.21 While the actual sound recordings would be the best source for evaluating the similarity in groove, the jurors were most likely influenced by the Gaye Parties’ expert musicologists in 14 David Post, Blurred Lines and Copyright Infringement, WASH. POST (Mar. 12, 2015), https://www.washingtonpost.com/news/volokh-conspiracy/wp/2015/03/12/blurred-lines-and- copyright-infringement/?noredirect=on&utm_term=.128eb87d3b5. 15 See id. (“That the experts found similarities that are not apparent from simply listening to the two recordings should be . entirely irrelevant to the case.”). 16 Williams, 885 F.3d at 1187 (Nguyen, J., dissenting). 17 See Tim Wu, Why the “Blurred Lines” Copyright Verdict Should Be Thrown Out, NEW YORKER (Mar. 12, 2015), https://www.newyorker.com/culture/culture-desk/why-the-blurred- lines-copyright-verdict-should-be-thrown-out. If the Gaye family had a broader copyright under the 1976 Act, the family might have a stronger argument in having ownership of their father’s “particularly distinctive style choices.” Id. 18 Id. In my opinion, while both songs used the cowbell and male falsetto voice, this does not indicate that the district court’s decision was correct. In fact, the use of these sonic elements does not suggest that the similarities between the songs extended beyond the groove and feel. Instead, it is possible that Williams and Thicke used the cowbell and falsetto voice for the main purpose of evoking a vibe similar to Gaye’s. 19 See id. (explaining that the copyrights in the composition and the sound recording are distinct). 20 Post, supra note 14. 21 For an explanation of “mash-ups” in this case, see infra note 159 and accompanying text. At trial, the jury heard “three audio-engineered ‘mash-ups’” of the songs prepared by the Gaye Parties’ experts “to show the melodic and harmonic compatibility” of both songs. On the other hand, the Thicke Parties’ expert “prepared and played a sound recording containing her rendition of the deposit copy of ‘Got To Give It Up.’” Williams, 885 F.3d at 1162.
Load more

Recommended publications
  • Xavier University Newswire
    Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 2016-09-07 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (2016). All Xavier Student Newspapers. 773. https://www.exhibit.xavier.edu/student_newspaper/773 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. Published by the students of Xavier University since 1915 Fiat justitia, ruat coelum Volume CII Issue 4 September 7, 2016 Flash floods damage campus buildings BY REGINA WRIGHT ZDVQHUYHZUDFNLQJZDONLQJEDFN )ORRGLQJ DOVR RFFXUUHG LQ WKH FKHFNHG WKH ÁRRUV DQG ZDOOV WR ZDLWLQJ IRU WKH UDLQIDOO WR VWRS Campus News Editor WR P\ URRP EHFDXVH P\ URRP $OO IRU 2QH 6KRS LQ 86WDWLRQ FRQÀUPWKDWWKH\ZHUHGU\DQG DQG ZDWHU WR FOHDU 1XPHURXV 6ZDPSHG E\ ÀYHSOXV LQFKHV PDWHVFDOOHGDQGKDGWRPRYHDOO WKH$OXPQL&HQWHU6FKPLGW)LHOG LQVRPHDUHDVWKHERWWRPVRI WKH UDPSVDQGSDVVDJHVXQGHUEULGJ RI ZDWHULQWZRKRXUVWKH;DYLHU RI RXUEHORQJLQJVRQWRSRI WKH +RXVH WKH WHQQLV FRXUWV DQG WKH ZDOOVKDGWREHWDNHQRXWWRDYRLG HVZHUHVXEPHUJHG FDPSXV DQG FRPPXQLW\ DUH VWLOO EHGVDQGWDEOHVEHFDXVHWKHUHZDV &LQWDV &HQWHU EDVHPHQW 7KUHH WUDSSHGPRLVWXUH ´2QP\ZD\WR;DYLHU,DF FOHDQLQJ XS WKH DIWHUPDWK IURP DJLDQWSXGGOHQHDURXUZLQGRZ
    [Show full text]
  • Midnight Special Songlist
    west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has.
    [Show full text]
  • Blurred Lines: on Downstream Infringement and the Disgorgement of Profits by Peter Rybolt
    Downstream Infringement More Blurred Lines: On Downstream Infringement And The Disgorgement Of Profits By Peter Rybolt n copyright, as well as trademark litigation, liti- products than the rights-holder, an award of plaintiff’s gants and finders of fact face the often bewil- losses may be inadequate to Idering task of determining the extent to which ensure deterrence.2 Thus the downstream infringers—those companies one or purpose of disgorgement is, at ■ Peter Rybolt, more steps removed from the creative work at is- least in part, to ensure that an Vice President, sue—may have benefited when someone upstream infringer cannot benefit unfair- Analysis Group, Inc., has usurped another’s work. Often, the results at tri- ly from his wrongful act.3 Los Angeles, CA al are contradictory. We first review the history and Yet the disgorgement remedy E-mail: peter.rybolt@ purpose of the disgorgement remedy, identifying ten- is not intended to be punitive. sion in the case law and statutes when the subject To ensure an equitable, rather analysisgroup.com turns from competitors to downstream infringers. than punitive, outcome, the We look at three well-known cases from the world of law provides for an apportion- recorded music—including the recent Blurred Lines ment of defendant’s profits between those profits de- decision—highlighting unexplained differences in rived from the infringement and those derived from oth- the treatment of record companies when songwriters er, presumably legitimate, sources. As a matter of form, are accused of infringement. We then review our un- plaintiff’s burden is to establish only the infringer’s gross derstanding of how firms capture value, and illustrate revenue; the infringer must identify deductible expenses how that understanding can lend guidance to juries in as well as any “elements of profit attributable to factors assessing the profits to be disgorged.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • 265 Edward M. Christian*
    COPYRIGHT INFRINGEMENT ANALYSIS IN MUSIC: KATY PERRY A “DARK HORSE” CANDIDATE TO SPARK CHANGE? Edward M. Christian* ABSTRACT The music industry is at a crossroad. Initial copyright infringement judgments against artists like Katy Perry and Robin Thicke threaten millions of dollars in damages, with the songs at issue sharing only very basic musical similarities or sometimes no similarities at all other than the “feel” of the song. The Second Circuit’s “Lay Listener” test and the Ninth Circuit’s “Total Concept and Feel” test have emerged as the dominating analyses used to determine the similarity between songs, but each have their flaws. I present a new test—a test I call the “Holistic Sliding Scale” test—to better provide for commonsense solutions to these cases so that artists will more confidently be able to write songs stemming from their influences without fear of erroneous lawsuits, while simultaneously being able to ensure that their original works will be adequately protected from instances of true copying. * J.D. Candidate, Rutgers Law School, January 2021. I would like to thank my advisor, Professor John Kettle, for sparking my interest in intellectual property law and for his feedback and guidance while I wrote this Note, and my Senior Notes & Comments Editor, Ernesto Claeyssen, for his suggestions during the drafting process. I would also like to thank my parents and sister for their unending support in all of my endeavors, and my fiancée for her constant love, understanding, and encouragement while I juggled writing this Note, working full time, and attending night classes. 265 266 RUTGERS UNIVERSITY LAW REVIEW [Vol.
    [Show full text]
  • ' Lurred Line ' Infringed on Marvin Ga E Cop Right, Jur Rule
    http://nyti.ms/1D24A6t MEDIA ‘lurred Line’ Infringed on Marvin Gae Copright, Jur Rule N SISARIO and NOAH SMITH MARCH 10, 2015 For the last year and a half, the music industry has been gripped by a lawsuit over whether Robin Thicke’s 2013 hit “Blurred Lines” was merely reminiscent of a song by Marvin Gaye, or had crossed the line into plagiarism. A federal jury in Los Angeles on Tuesday agreed that “Blurred Lines” had gone too far, and copied elements of Gaye’s 1977 song “Got to Give It Up” without permission. The jury found that Mr. Thicke, with Pharrell Williams, who shares a songwriting credit on the track, had committed copyright infringement, and it awarded more than $7.3 million to Mr. Gaye’s family. Nona and Frankie Gaye, two of Marvin Gaye’s children, are to receive $4 million in damages plus about $3.3 million of the profits earned by Mr. Thicke and Mr. Williams. The decision is believed to be one of the largest damages awards in a music copyright case. In one of the few comparable cases, in 1994, Michael Bolton and Sony were ordered to pay $5.4 million for infringing on a 1960s song by the soul group the Isley Brothers. Since the “Blurred Lines” suit was filed in August 2013, while the song was still No. 1, the case has prompted debate in music and copyright circles about the difference between plagiarism and homage, as well as what impact the verdict would have on how musicians create work in the future.
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • Front of House Master Song List
    CURRENT ROTATION CONTEMPORARY DANCE Love on Top – Beyoncé 24K Magic – Bruno Mars Moves Like Jagger – Maroon 5 All About That Bass – Meghan Trainor Mr. Saxobeat – Alexandra Stan All of Me – John Legend No One – Alicia Keys American Boy – Estelle & Kanye West OMG – Usher Applause – Lady Gaga One Kiss – Calvin Harris, Dua Lipa Bang Bang – Jessie J, Ariana Grande, Nicki Minaj Only Girl (in the World) – Rihanna Blurred Lines – Robin Thicke On the Floor – Jennifer Lopez Boom Clap – Charlie XCX Party In The USA – Miley Cyrus Born This Way – Lady Gaga Party Rock Anthem – LMFAO Break Free – Ariana Grande Perm – Bruno Mars California Gurls – Katy Perry Poker Face – Lady Gaga Cake By The Ocean – DNCE Raise Your Glass – Pink Call Me Maybe – Carly Rae Jepsen Rather Be – Clean Bandit ft. Jess Glynn Can’t Feel My Face – The Weeknd Roar – Katy Perry Can’t Hold Us – Macklemore & Ryan Lewis Rock Your Body – Justin Timberlake Can’t Stop The Feeling – Justin Timberlake Rolling in the Deep – Adele Cheap Thrills – Sia Safe and Sound – Capital Cities Cheerleader – OMI Sexy Back – Justin Timberlake Closer – Chainsmokers ft. Halsey Shake It Off – Taylor Swift Club Can’t Handle Me – Flo Rida Shape of You – Ed Sheeran Confident – Demi Lovato Shut Up and Dance With Me – Walk the Moon Counting Stars – OneRepublic Single Ladies – Beyoncé Crazy – Gnarls Barkley Sugar – Maroon 5 Crazy In Love / Funk Medley – Beyoncé, others Suit & Tie – Justin Timberlake Despacito – Luis Fonsi ft. Justin Bieber Take Back the Night – Justin Timberlake DJ Got Us Falling in Love Again – Usher That’s What I Like – Bruno Mars Don’t Stop the Music – Rihanna There’s Nothing Holding Me Back – Shawn Mendez Domino – Jessie J This Is What You Came For – Calvin Harris ft.
    [Show full text]
  • Jackie Classic 100 - 2020
    Jackie Classic 100 - 2020 Jackie Classic 100 1 – 10 1. Bohemian Rhapsody – Queen 2. I Gotta Feeling – Black Eyed Peas 3. Love is all around – Wet Wet Wet 4. You’re the one that I want - John Travolta & Olivia Newton John 5. It wasn’t me – Shaggy 6. Rivers of Babylon – Boney M 7. Relax – Frankie Goes to Hollywood 8. Can’t get you out of my Head – Kylie 9. Eye of the Tiger – Survivor 10. Poker face – Lady Gaga Jackie Classic 100 11 – 20 11. Imagine – John Lennon 12. Believe – Cher 13. YMCA – Village People 14. Don’t you want me – Human League 15. Day Tripper – Beatles 16. Price Tag – Jessie J 17. Two Tribes – Frankie Goes to Hollywood 18. Crazy – Gnarls Barkley 19. Heart of Glass – Blondie 20. Bad Romance – lady Gaga Jackie Classic 100 21 – 30 21. It’s now or never – Elvis Presley 22. Baby one more Time – Britney Spears 23. Careless Whisper – George Michael 24. Somebody that I used to know – Gotye 25. Another Brick in the Wall – Pink Floyd 26. Forget You – Cee Lo Green 27. Hey Jude – Beatles 28. Karma Chameleon – Culture Club 29. Don’t stop believing – Journey 30. Dancing Queen – Abba Jackie Classic 100 - 2020 Jackie Classic 100 31 – 40 31. Wonderwall – Oasis 32. Firework – Katy Perry 33. Come on Eileen – Dexy’s Midnight Runners 34. Wannabe – Spice Girls 35. Counting Stars – OneRepublic 36. I Feel Love – Donna Summer 37. Call me Maybe – Carly Rae Jepson 38. Don’t Stop moving’ – S Club 7 39. Hit me with your Rhythm Stick – Ian Dury & the Blockheads 40.
    [Show full text]
  • RICHARD BUSCH the Man, Whose Wife Was the Copyright Administra- Force Majeure Provisions in Contracts
    “ I COME FROM A FIRM THAT DOESN’T HAVE CONNECTIONS AT THE RECORD LABELS. WHEN PEOPLE COME TO ME, THEY KNOW THEY HAVE 100% OF MY LOYALTY.” What is it like being a litigator in the midst of the coronavirus pandemic? It’s a challenge. Hearings are either being ruled on based on the submitted papers or after a telephonic 1 hearing. I like to think my papers are pretty persua- sive, but clients want you in the room, in person. When you go to a courtroom, you can read the room lead sheet, to get it on file with the Copyright Office. and take signals from the judge’s questions. What they are saying by that decision is that Marvin Depositions over Zoom create their own obstacles. Gaye is no longer the composer of “Got To Give It Part of the purpose of a deposition is to be right there Up” — that rather some unknown person hired to with the witness. Now you don’t know what’s going do a lead sheet to get a copyright registration is the on behind the scenes, what’s going on during the author. It’s absurd! I believe the Supreme Court, if it breaks. It’s just not an effective process. Unfortunate- looked at the issue, would conclude that the Ninth ly, I think this is going to continue for most of 2020, Circuit was absolutely wrong. and when we get back into the courtrooms there is going to be a bottleneck of cases. In your lawsuit against Spotify brought by Eminem’s publisher Eight Mile Style, you have called the The pandemic has hit the music industry hard, espe- Music Modernization Act “unconstitutional.” Why Busch photographed cially the live business.
    [Show full text]
  • 90'S Medley Rihanna Medley Motown Medley Prince
    Adele - Rolling in the Deep Jackson 5 - ABC Outkast - Miss Jackson 90’S MEDLEY Alabama Shakes - Hold on James Brown - Get Up Oa That Thing Outkast - Rosa Parks TLC Alicia Keys - Empire State of Mind James and Bobby Purify - Shake A Tail Feather Patrice Ruschen - Forget Me Nots Usher Alicia Keys - If I Ain’t Got You James Blake - Limit To Your Love Percy Sledge - You Really Got a Hold On Me Montell Jordan Al Green - Let’s Stay Together Jamie XX - Good Times Pharrell – Happy Mark Morrison Al Green - Take Me to the River Janelle Monae - Tightrope Prince – I Wanna Be Your Lover Next Amy Whinehouse - Valerie Jerry Lee Lewis - Great Balls of Fire Prince - Kiss Beck – Where It’s At Justin Timberlake - Can’t Stop The Feeling Ray Charles - Georgia Beyonce – Crazy In Love Justin Timberlake - Rock Your Body R Kelly - Remix to Ignition RIHANNA MEDLEY Beyonce - Love on Top King Harvest - Dancing in the Moonlight Sade - By Your Side What’s My Name Beyonce - Party Kendrick Lamar – If These Walls Could Talk Sade - Smooth Operator We Found Love Bill Withers - Ain’t No Sunshine Leon Bridges - Coming Home Sade - Sweetest Taboo Work Blondie – Rapture Lil Nas X - Old Town Road Sam Cooke - Wonderful World Blood Orange - You’re Not Good Enough Sam Cooke - Cupid Lionel Richie - All Night Long MOTOWN MEDLEY Bob Carlisle/Je Carson - Butterfly Kisses Little Richard - Good Golly Miss Molly Sam Cooke - Twistin’ Your Love Keeps Lifting Me Higher and Higher Bruno Mars - 24k Magic Lizzo - Juice Sam Cooke – You Send Me You Really Got a Hold On Me Bruno Mars - Treasure
    [Show full text]
  • Kappale Artisti
    14.7.2020 Suomen suosituin karaokepalvelu ammattikäyttöön Kappale Artisti #1 Nelly #1 Crush Garbage #NAME Ednita Nazario #Selˆe The Chainsmokers #thatPOWER Will.i.am Feat Justin Bieber #thatPOWER Will.i.am Feat. Justin Bieber (Baby I've Got You) On My Mind Powderˆnger (Barry) Islands In The Stream Comic Relief (Call Me) Number One The Tremeloes (Can't Start) Giving You Up Kylie Minogue (Doo Wop) That Thing Lauren Hill (Every Time I Turn Around) Back In Love Again LTD (Everything I Do) I Do It For You Brandy (Everything I Do) I Do It For You Bryan Adams (Hey Won't You Play) Another Somebody Done Somebody Wrong Song B. J. Thomas (How Does It Feel To Be) On Top Of The W England United (I Am Not A) Robot Marina & The Diamonds (I Can't Get No) Satisfaction The Rolling Stones (I Could Only) Whisper Your Name Harry Connick, Jr (I Just) Died In Your Arms Cutting Crew (If Paradise Is) Half As Nice Amen Corner (If You're Not In It For Love) I'm Outta Here Shania Twain (I'll Never Be) Maria Magdalena Sandra (It Looks Like) I'll Never Fall In Love Again Tom Jones (I've Had) The Time Of My Life Bill Medley & Jennifer Warnes (I've Had) The Time Of My Life Bill Medley-Jennifer Warnes (I've Had) The Time Of My Life (Duet) Bill Medley & Jennifer Warnes (Just Like) Romeo And Juliet The Re˜ections (Just Like) Starting Over John Lennon (Marie's The Name) Of His Latest Flame Elvis Presley (Now & Then) There's A Fool Such As I Elvis Presley (Reach Up For The) Sunrise Duran Duran (Shake, Shake, Shake) Shake Your Booty KC And The Sunshine Band (Sittin' On) The Dock Of The Bay Otis Redding (Theme From) New York, New York Frank Sinatra (They Long To Be) Close To You Carpenters (We're Gonna) Rock Around The Clock Bill Haley & His Comets (Where Do I Begin) Love Story Andy Williams (You Drive Me) Crazy Britney Spears (You Gotta) Fight For Your Right (To Party!) The Beastie Boys 1+1 (One Plus One) Beyonce 1000 Coeurs Debout Star Academie 2009 1000 Miles H.E.A.T.
    [Show full text]